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You are free: to share – to copy, distribute and transmit the work; to remix – to adapt the work; Under the following conditions: attribution – You must give appropriate credit, provide a link to the license, and indicate if changes were made.
It joins with the scapula above at the shoulder joint (or glenohumeral joint) and with the ulna and radius below at the elbow joint. Notice: When the arm is spun so that the thumb point to the outside of the body, meaning the palm of the hand looks forward then it is said the hand is supinated. But when the thumb remains in the inside and the ...
The cubital fossa, antecubital fossa, chelidon, or inside of elbow is the area on the anterior side of the upper part between the arm and forearm of a human or other hominid animals. It lies anteriorly to the elbow (antecubital) (Latin cubitus) when in standard anatomical position. The cubital fossa is a triangular area having three borders. [1]
By this method, body diagrams can be derived by pasting organs into one of the "plain" body images shown below. This method requires a graphics editor that can handle transparent images, in order to avoid white squares around the organs when pasting onto the body image.
Another technique similar to contour drawing is outline drawing; a division between form and the space a subject occupies. [4] All three types of drawing are considered to be gesture drawings; [4] the practice of drawing a series of bodies in still form. An outline drawing does not include the visual amusement of human sight, while a contour ...
Contour drawing – Chiaroscuro – using strong contrasts between light and dark to achieve a sense of volume in modeling three-dimensional objects such as the human body. Gesture Drawing - loose drawing or sketching with the wrists moving, to create a sense of naturalism of the line or shape, as opposed to geometric or mechanical drawing ...
A line drawing is the most direct means of expression. This type of drawing without shading or lightness, is usually the first to be attempted by an artist.It may be somewhat limited in effect, yet it conveys dimension, movement, structure and mood; it can also suggest texture to some extent.
In 1961, Danish Egyptologist Erik Iverson described a canon of proportions in classical Egyptian painting. [2] This work was based on still-detectable grid lines on tomb paintings: he determined that the grid was 18 cells high, with the base-line at the soles of the feet and the top of the grid aligned with hair line, [3] and the navel at the eleventh line. [4]